DOCSLIB.ORG

Jamfactory Annual Review 2018/2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jamfactory Annual Review 2018/2019 ANNUAL REVIEW 2018-19 ACKNOWLEDGEMENT OF COUNTRY JamFactory respectfully acknowledges the traditional country of the Kaurna people of the Adelaide Plains and pays respect to Elders past and present. We recognise and respect their cultural heritage, beliefs and relationship with the land. We acknowledge that they are of continuing importance to the Kaurna people living today. OUR OUR VALUES MISSION AND PRINCIPLES JamFactory is Australia’s leading contemporary craft JamFactory is an organisation that: and design organisation. We contribute to the cultural vibrancy of South Australia by providing training, support Is committed to promoting the value of artists, craftspeople and and development opportunities for practitioners and by designers to a vibrant culture engaging communities through our exhibition, retail and education programs. Promotes design, craftsmanship and creative thinking as vital to a healthy society Is forward thinking, innovative and prepared to take risks OUR Encourages and celebrates excellence GOALS Supports learning through engagement Is welcoming, open and community-focused Is committed to principles of equal opportunity and recognition of cultural diversity To be recognised internationally as a leading centre for training, supporting and promoting outstanding entrepreneurial Safeguards the pride and goodwill invested in it by its many craftspeople and designers. stakeholders Significantly increase our audiences and contribute to greater Encourages teamwork and recognises the individual skills and understanding and awareness of contemporary craft and viewpoints of its staff in a safe and supportive work environment design in society. Promotes collaboration and seeks to collaborate Sustainably build and manage resources to achieve our sector and audience development ambitions. Is accountable, transparent and well groomed Is environmentally responsible and financially sustainable OUR STORY Established in 1973 by the South JamFactory is committed to ongoing Australian Government, JamFactory professional development within the is one of South Australia’s great craft and design sector and our most cultural assets and Australia’s leading significant activity is the delivery of our contemporary craft and design Associate Program – an intensive career organisation. development program for emerging designer-makers working in ceramics, In 1992, JamFactory moved to a large glass, furniture or jewellery and purpose-built facility in the west end of metal. the Adelaide CBD with specialised studio facilities, public galleries and a retail shop. Since its establishment, JamFactory In 2013, a satellite site at Seppeltsfield has nurtured local talent and attracted estate in the Barossa Valley opened with outstanding artists and designers from studio spaces for professional artisans, a around Australia and across the globe. public gallery and a retail shop. Each of Some of these have come to work as these facilities provide a valuable creative staff, some to rent studio space or use hub and contribute to South Australia’s facilities and many others to undertake vibrant cultural tourism offering. the training program. Many of these talented people have subsequently JamFactory is an entrepreneurial, chosen to stay in South Australia to not-for-profit organisation with a contribute to the culture and unique and dynamic business model. economy of the state. Our current activities include: offering training to emerging artists and Over more than four decades designers; developing, presenting JamFactory has provided employment and touring exhibitions with emphasis and/or training for more than 500 on craft and design; leasing studio leading Australian craft and design space and hiring out specialist workshop practitioners and has assisted in the facilities; design and production of career advancement of many more. bespoke items from jewellery and awards We have contributed consistently and to interior fit outs and public art; significantly to the income of creative running workshops and short courses; practitioners through wages, fees manufacturing of homewares, lighting and sales. and furniture; wholesale sales; retail sales; and publishing. YEAR IN REVIEW JamFactory maintained a high level of JamFactory Icon exhibition Clare excellence across its artistic programs Belfrage: a Measure of Time and during the year with continued critical the last in our four-part series of acclaim for our exhibition and training material-based exhibitions CONCRETE: programs and we directly contributed art design architecture. Both exhibitions more than $2.8million to professional are accompanied by major publications incomes in the craft and design sector. and education kits and both are touring nationally with the support of 2018-19 saw increases in visitation, retail Commonwealth Government funding. sales, workshop enrolments and on-line engagement. More than 100 individual JamFactory continued to generate artists and designers utilised JamFactory’s significant earned revenue from diverse studio facilities for development and business activities, however this year production of their own work, including saw decreases in wholesale sales, studio those participating in our highly acclaimed commissions and development revenue Associate Program. compared to the previous year. The Associate Program continued to A need to absorb State Government provide outstanding career development savings along with lower than opportunities for emerging artists and expected return from our studio designers working in glass, ceramics, commissions activity resulted in a deficit furniture and jewellery with the 2019 for the year of $66K. This deficit ends a calendar year welcoming 11 new run of seven successive surplus results Associates from Japan, the Netherlands, and we anticipate another modest deficit Sydney, Canberra, Brisbane and Adelaide. in 2019-20 as we invest in critical new Recent alumni from the program are business activities. establishing successful creative businesses and winning prestigious Our reporting and funding relationship grants, awards and residencies. to State Government changed from Throughout the year JamFactory was working with Arts South Australia within able to provide opportunities for five the Department of Premier and Cabinet Associates to undertake workshops in to working with the Creative Industries France, Japan and the United States. Directorate within the Department for Innovation and Skills. This shift is opening JamFactory presented 17 curated up important new networks and exhibitions including five touring opportunities for JamFactory. exhibitions (presented at 26 venues nationally). These exhibitions featured Throughout the second half of the year work by 123 artists and designers from we developed a new four-year strategic across Australia. Highlights were the 2018 plan to take JamFactory towards its 50th anniversary in 2023. DURING 2018/2019 JAMFACTORY: attracted absorbed a reduction in core funding 87,947 from State Government of almost website visits, representing an increase of 9.3% on the previous year 10% down from $1,164,000 to $1,040,000 secured $125,504 in new project funding from State and Commonwealth Government programs generated $224,552 in Development income, down 32% on previous year provided hot glass studio facilities fo 33 represented over independent glass artists in addition to our Glass Studio staff and Associates 250 craftspeople and designers (65% South Australian) through our curated retail operations increased enrolments in short-course workshops by 43% with 445 increased our social media audience across Facebook and Instagram engaged participants by 14% to reach achieved audience visitation across 35,561 our venues and touring exhibitions of 217,980 presented up 4.5% on the previous year 17 curated exhibitions through our exhibitions program including 5 touring exhibitions presented at 26 venues nationally increased total retail sales by 11% from $1,230,495 to Provided subsidised $1,371,692 studio space for 30 independent artists and designers across our sites in Adelaide and the Barossa EXHIBITIONS PROGRAM 17 July – 18 September 2018 28 July - 16 September 2018 5 October – 2 December 2018 Featuring works by Shimara Carlow, Yuko JamFactory at Seppeltsfield Gallery Two Gallery One Fujita, Michelle Kelly, David Neale and FUSE Glass Prize 2018 An (un)Natural Selection - Lesa Farrant Adelaide Modern Olivia Spark. Curated by Caitlin Eyre. The FUSE Glass Prize finalist exhibition Using slip-cast porcelain’s mimetic Adelaide Modern saw six contemporary showcases 18 outstanding glass artists. qualities, Lesa Farrant creates delicate Designers and six teams of UniSA 5 October – 4 November 2018 This biennial non-acquisitive prize for specimens of indigenous and introduced students and JamFactory Furniture COLLECT space Australian and New Zealand glass artists plants. Cast from the flotsam and jetsam Studio Associates respond to six pieces Ormolu: Julie Blyfield and Kirsten Coelho is Australasia’s richest prize for glass. The she collects from her local beach, Port of mid-century furniture produced by In an inspired contemporary prize provides a platform for artists to Willunga, these works are a meditation six South Australian manufacturers. interpretation of Ormolu, highly push themselves and their work to new on the Anthropocene. Featuring works by Takeshi Iue, Enoki, acclaimed South Australian artists Julie limits. Featuring works by established Caren Ellis, Studio Gram, Peter Walker, Blyfield (silversmith)
Load more

Recommended publications
  • Arts & Culture Plan South Australia 2019
    Arts & Culture Plan South Australia 2019 - 2024 1 To Dream To Explore To Create Acknowledgment of Country Aboriginal and Torres Strait Islander people have made and continue to make a unique and irreplaceable contribution to Australia. The South Australian Government acknowledges and respects Aboriginal people as the state’s first people and nations, and recognises Aboriginal people as traditional owners and occupants of South Australian land and waters. The South Australian Government acknowledges that the spiritual, social, cultural and economic practices of Aboriginal people come from their traditional lands and waters, and that Aboriginal people maintain cultural and heritage beliefs, languages and laws which are of ongoing importance today. Front cover Production: mi:wi Organisation: Vitalstatistix Photographer: Gregory Lorenzutti Table of Contents Page Vision, Mission, 4 Values 4 6 Goals 5 Message and commitment from the Government 7 Introduction 9 An Arts Plan for the future 10 Why now is the time for the Plan 10 Four reasons to pivot 11 South Australia. A history of creative and cultural innovation 12 1 The Structure of this Plan 16 South Australia, A gateway to the first and original story 17 Songlines: Tracking the Seven Sisters 18 Goal 1 20 Goal 2 24 Goal 3 28 Goal 4 32 Goal 5 36 Goal 6 40 Capturing value and impact 42 Footnotes 44 Adelaide College of the Arts Organisation: TAFE SA Photographer: Sam Roberts The Arts and Culture Plan for This Arts Plan is about igniting a This narrative is about how we TELL South Australia 2019 – 2024 new level of connectivity – between THESE STORIES, and relates strongly artists, organisations, institutions and to South Australia’s ‘market and brand’.
    [Show full text]
  • 2018 Adelaide Biennial of Australian Art
    DIVIDED ART GALLERY OF SOUTH AUSTRALIA WORLDS 2018 ADELAIDE BIENNIAL OF AUSTRALIAN ART The cat sits under the dark sky in the night, watching the mysterious trees. There are spirits afoot. She watches, alert to the breeze and soft movements of leaves. And although she doesn’t think of spirits, she does feel them. In fact, she is at one with them: possessed. She is a wild thing after all – a hunter, a killer, a ferocious lover. Our ancestors lived under that same sky, but they surely dreamed different dreams from us. Who knows what they dreamed? A curator’s dream DIVIDED WORLDS ART 2018 GALLERY ADELAIDE OF BIENNIAL SOUTH OF AUSTRALIA AUSTRALIAN ERICA GREEN ART ARTISTS LISA ADAMS JULIE GOUGH VERNON AH KEE LOUISE HEARMAN ROY ANANDA TIMOTHY HORN DANIEL BOYD KEN SISTERS KRISTIAN BURFORD LINDY LEE MARIA FERNANDA CARDOSO KHAI LIEW BARBARA CLEVELAND ANGELICA MESITI KIRSTEN COELHO PATRICIA PICCININI SEAN CORDEIRO + CLAIRE HEALY PIP + POP TAMARA DEAN PATRICK POUND TIM EDWARDS KHALED SABSABI EMILY FLOYD NIKE SAVVAS HAYDEN FOWLER CHRISTIAN THOMPSON AMOS GEBHARDT JOHN R WALKER GHOSTPATROL DAVID BOOTH DOUGLAS WATKIN pp. 2–3, still: Angelica Mesiti, born Kristian Burford, born 1974, Waikerie, 1976, Sydney Mother Tongue, 2017, South Australia, Audition, Scene 1: two-channel HD colour video, surround In Love, 2013, fibreglass reinforced sound, 17 minutes; Courtesy the artist polyurethane resin, polyurethane and Anna Schwartz Gallery Melbourne foam, oil paint, Mirrorpane glass, Commissioned by Aarhus European Steelcase cubicles, aluminium, steel, Capital of Culture 2017 in association carpet, 261 x 193 x 252 cm; with the 2018 Adelaide Biennial Courtesy the artist photo: Bonnie Elliott photo: Eric Minh Swenson DIRECTOR'S 7 FOREWORD Contemporary art offers a barometer of the nation’s Tim Edwards (SA), Emily Floyd (Vic.), Hayden Fowler (NSW), interests, anxieties and preoccupations.
    [Show full text]
  • South Australian Arts Plan 2019-2024 LGA Submission
    South Australian Arts Plan 2019-2024 LGA Submission April 2019 LGA of SA ECM XXXXX < File Name > Page 0 of 12 Introduction As the closest government to communities, councils deliver hundreds of facilities and services that: drive economic development; protect the environment; bring communities together; support public health; and improve the local amenity enjoyed by all South Australians and visitors alike. Arts and culture is an important part of the work which many councils do, and the role of local government in arts and culture has many benefits for the South Australian community, supporting health and wellbeing, economic, social and cultural development. In this context, the Local Government Association of South Australia (LGA) welcomes the decision of the State Government to develop an Arts Plan, and the opportunity to make a submission. Local government is an experienced partner in government, and the LGA and our member councils look forward to working with the State Government and Arts South Australia to capture that involvement in the South Australian Arts Plan 2019-2024 (‘the Plan’). About the LGA The LGA is the voice of local government in South Australia, representing all 68 individual councils across the state. Our mission is to provide leadership, support, representation and advocacy on behalf of South Australian councils, for the benefit of the community. The value of LGA membership has been independently verified by UHY Haines Norton as being worth around $139 million to the local government sector in 2019. This submission has been informed by consultation with our member councils. Development of an Arts Plan for South Australia The LGA is keen to be involved in the development of the Plan and this submission is provided for consideration of the consultants engaged to prepare the Plan.
    [Show full text]
  • National Architecture Award Winners 1981 – 2019
    NATIONAL ARCHITECTURE AWARDS WINNERS 1981 - 2019 AUSTRALIAN INSTITUTE OF ARCHITECTS NATIONAL ARCHITECTURE AWARD WINNERS 1 of 81 2019 NATIONAL ARCHITECTURE AWARDS COLORBOND® Award for Steel Architecture Yagan Square (WA) The COLORBOND® Award for Steel Architecture Lyons in collaboration with Iredale Pedersen Hook and landscape architects ASPECT Studios COMMERCIAL ARCHITECTURE Dangrove (NSW) The Harry Seidler Award for Commercial Architecture Tzannes Paramount House Hotel (NSW) National Award for Commercial Architecture Breathe Architecture Private Women’s Club (VIC) National Award for Commercial Architecture Kerstin Thompson Architects EDUCATIONAL ARCHITECTURE Our Lady of the Assumption Catholic Primary School (NSW) The Daryl Jackson Award for Educational Architecture BVN Braemar College Stage 1, Middle School National Award for Educational Architecture Hayball Adelaide Botanic High School (SA) National Commendation for Educational Architecture Cox Architecture and DesignInc QUT Creative Industries Precinct 2 (QLD) National Commendation for Educational Architecture KIRK and HASSELL (Architects in Association) ENDURING ARCHITECTURE Sails in the Desert (NT) National Award for Enduring Architecture Cox Architecture HERITAGE Premier Mill Hotel (WA) The Lachlan Macquarie Award for Heritage Spaceagency architects Paramount House Hotel (NSW) National Award for Heritage Breathe Architecture Flinders Street Station Façade Strengthening & Conservation National Commendation for Heritage (VIC) Lovell Chen Sacred Heart Building Abbotsford Convent Foundation
    [Show full text]
  • Our Cultural Collections a Guide to the Treasures Held by South Australia’S Collecting Institutions Art Gallery of South Australia
    Our Cultural Collections A guide to the treasures held by South Australia’s collecting institutions Art Gallery of South Australia. South Australian Museum. State Library of South Australia. Car- rick Hill. History SA. Art Gallery of South Aus- tralia. South Australian Museum. State Library of South Australia. Carrick Hill. History SA. Art Gallery of South Australia. South Australian Museum. State Library of South Australia. Car- rick Hill. History SA. Art Gallery of South Aus- Published by Contents Arts South Australia Street Address: Our Cultural Collections: 30 Wakefield Street, A guide to the treasures held by Adelaide South Australia’s collecting institutions 3 Postal address: GPO Box 2308, South Australia’s Cultural Institutions 5 Adelaide SA 5001, AUSTRALIA Art Gallery of South Australia 6 Tel: +61 8 8463 5444 Fax: +61 8 8463 5420 South Australian Museum 11 [email protected] www.arts.sa.gov.au State Library of South Australia 17 Carrick Hill 23 History SA 27 Artlab Australia 43 Our Cultural Collections A guide to the treasures held by South Australia’s collecting institutions The South Australian Government, through Arts South Our Cultural Collections aims to Australia, oversees internationally significant cultural heritage ignite curiosity and awe about these collections comprising millions of items. The scope of these collections is substantial – spanning geological collections, which have been maintained, samples, locally significant artefacts, internationally interpreted and documented for the important art objects and much more. interest, enjoyment and education of These highly valuable collections are owned by the people all South Australians. of South Australia and held in trust for them by the State’s public institutions.
    [Show full text]
  • Download the Creative Industries Strategy
    Creative Industries Strategy An industry-led Strategy produced by the Department for Innovation and Skills, in collaboration with Department for Trade and Investment and various industry representatives. 2020 GROWTH STATE Spider-Man: Far From Home - Visual effects by Rising Sun Pictures. © & TM 2019 MARVEL. © 2019 CTMG. All Rights Reserved. Credit: Rising Sun Pictures. The Department for Innovation and Skills acknowledges Aboriginal people as the state’s first peoples and Nations of South Australia. We recognise and respect their cultural connections as the traditional owners and occupants of the land and waters of South Australia, and that they have and continue to maintain a unique and irreplaceable contribution to the state. Ngarrindjeri designer Jordan Lovegrove at Ochre Dawn. Credit: Ochre Dawn Creative Industries. CREATIVE INDUSTRIES Strategy Table of Contents Message from the Minister 4 Message from the Creative Industries Ministerial Advisory Group 5 Section 1: Background 6 Executive summary 6 Growth State 6 The Creative Industries Strategy 7 What are the creative industries? 9 Advertising and Communication Design 11 Broadcasting: TV, Radio and Podcasts 11 Design 12 Design – Urban, Architecture, Interior and Landscape 12 Design – Industrial and Product 13 Fashion 14 Festivals (Creative and Cultural) 15 Music 18 Performing Arts 21 Visual Arts and Craft 21 Screen 22 Screen – TV and Film Production 23 Screen – Post Production, Digital and Visual Effects (PDV) 24 Screen - Game Development 25 Writing and Publishing 26 Technology and
    [Show full text]
  • Highlights 2017
    GIVING HISTORY HIGHLIGHTS THE TRUST 2017 - 2018 PAST OF A FUTURE SOUTH NOW! AUSTRALIA Acknowledgment of traditional owners The History Trust of South Australia respects the primary place of Aboriginal people in the history of this place. We acknowledge that this story commenced long before Governor Hindmarsh proclaimed the new Province of South Australia on 28 December 1836. Aboriginal people have a history that extends millennia into the past. We acknowledge that Aboriginal lands and sovereignty were not recognised and that building a shared understanding of history is critical to reconciliation. We affirm our role in reconciliation as an essential part of Aboriginal and non-Aboriginal South Australians co-creating a positive future. State Library of South Australia, PRG 1491/25/64 Front cover image: Aunty Ellen Trevorrow and her family with the whale sculpture Kondoli History Trust of South Australia, that she created using traditional Ngarrindjeri HT 2017.1218 weaving. (South Australian Maritime Museum). 2 3 GIVING THE PAST A FUTURE NOW! Our job is to encourage current and future generations of South Australians to discover that this state’s past is rich, relevant and fascinating. And among the many stories unfolding across South Australia in the present, there are many worthy of being preserved for sharing in the future. The History Trust of South Australia is exactly what our name implies. We carry the community’s trust to keep safe our state’s stories and memory collections so that they will not be lost. Our Act of Parliament safeguards South Australia’s material cultural heritage, encourages research, and enables the public presentation of South Australian history.
    [Show full text]
  • Religion, Cultural Diversity and Safeguarding Australia
    Cultural DiversityReligion, and Safeguarding Australia A Partnership under the Australian Government’s Living In Harmony initiative by Desmond Cahill, Gary Bouma, Hass Dellal and Michael Leahy DEPARTMENT OF IMMIGRATION AND MULTICULTURAL AND INDIGENOUS AFFAIRS and AUSTRALIAN MULTICULTURAL FOUNDATION in association with the WORLD CONFERENCE OF RELIGIONS FOR PEACE, RMIT UNIVERSITY and MONASH UNIVERSITY (c) Copyright Commonwealth of Australia 2004 This work is copyright. Apart from any use as permitted under the Copyright Act 1968, no part may be reproduced by any process without prior written permission from the Commonwealth available from the Department of Communications, Information Technology and the Arts. Requests and inquiries concerning reproduction and rights should be addressed to the Commonwealth Copyright Administration, Intellectual Property Branch, Department of Communications, Information Technology and the Arts, GPO Box 2154, Canberra ACT 2601 or at http:www.dcita.gov.au The statement and views expressed in the personal profiles in this book are those of the profiled person and are not necessarily those of the Commonwealth, its employees officers and agents. Design and layout Done...ByFriday Printed by National Capital Printing ISBN: 0-9756064-0-9 Religion,Cultural Diversity andSafeguarding Australia 3 contents Chapter One Introduction . .6 Religion in a Globalising World . .6 Religion and Social Capital . .9 Aim and Objectives of the Project . 11 Project Strategy . 13 Chapter Two Historical Perspectives: Till World War II . 21 The Beginnings of Aboriginal Spirituality . 21 Initial Muslim Contact . 22 The Australian Foundations of Christianity . 23 The Catholic Church and Australian Fermentation . 26 The Nonconformist Presence in Australia . 28 The Lutherans in Australia . 30 The Orthodox Churches in Australia .
    [Show full text]
  • Creative South Australia: a Vision for the Arts
    CREATIVE SOUTH AUSTRALIA: A VISION FOR THE ARTS Prepared by the Executive Summary 2 Contents Adelaide: A city of firsts in art and culture 6 South Australia’s unique advantage 7 Why culture and the arts? 8 Innovation is nurtured and celebrated 9 Creativity at the centre of our economy 10 Our artists play to the world 11 A home for artists and creative thinkers 12 Leaders in Arts and Education 13 A network of exceptional cultural spaces 14 Financial sustainability 15 Not the last word 16 Image credits and references 17 Executive Summary ABOUT ARTS 40 YEAR VISION INDIGENOUS ARTS WHO IS THE INDUSTRY COUNCIL CREATING AN ARTS INDUSTRY AND CULTURE VISION FOR? DRIVEN VISION FOR SOUTH OF SOUTH AUSTRALIA AUSTRALIA This Vision acknowledges that This Vision is for the arts sector and (AICSA) Indigenous arts practice and culture is attendees at the November 2014 forum In November 2014, AICSA invited South fundamental to the future for arts in to summarise and move forward the Arts Industry Council of South Australia Australia’s creative community to a South Australia. It is anticipated that many issues discussed and debated. (AICSA) is the state’s independent, public forum at Adelaide Town Hall to Creative South Australia: A Vision It is also for the Government of South sector wide representative arts develop a 40-Year Vision for the Arts. for the Arts will be augmented by Australia - to have insight into the body. AICSA was constituted as an This initiative was driven by the fact forthcoming consultation and policy over-arching views of the sector and incorporated association in 1991 and that South Australia’s vibrant arts scene on Indigenous arts and culture to be to contribute to cultural policy.
    [Show full text]
  • THURSDAY 27 – SUNDAY 30 OCT Adelaidefilmfestival.Org @Adlfilmfest #Adlff Thank You
    GOES ROGUE THURSDAY 27 – SUNDAY 30 OCT adelaidefilmfestival.org @AdlFilmFest #adlff Thank you Principal Partner Government Partners Major Partners Supporting Partners Ali’s Wedding Ali’s Screen Australia congratulates all those Australian films selected for the Adelaide Film Festival. Stories that stay with you 2 GOES ROGUE For Adelaide Film Festival 2015, we packed eleven October days with The Fund supports feature fiction films and feature documentary premieres, talks, and post-film soirees aplenty. Frankly, the thought projects along with short films, animation, digital and interactive of waiting two more years to do it all again is too much to bear. projects, hybrid reality and moving image works. Say, why not go rogue? In 2016, we’re breaking the biennial cycle to bring a streamlined mini- Thanks to the ADL Film Fest Fund, we’re pleased as punch to present fest to Adelaide’s screens. Featuring brand new Australian titles and three new works, each from the frontlines of thematic, stylistic and an array of retrospective gems, let this four-day fiesta be your screen- technological storytelling. Ali’s Wedding is Australia’s first Muslim based oasis until ADL Film Fest proper returns, full throttle. rom-com, so funny you’ll cry. ADLFF patron David Stratton gives us a sneak peek at his Stories of Australian Cinema. Lynette Wallworth’s ADL Film Fest Fund, rare in the screen landscape and revered radical work Collisions unites the world’s oldest culture with the internationally, forms the backbone of our Rogue program. vanguard of virtual reality tech. So: rogue. Not Nicolas Roeg, whose decisive work Walkabout features in Stratton’s series; nor the neo-Ozploitation creature feature about that ocker-eating croc – though we value the chutzpah of both.
    [Show full text]
  • METRON T2M MM Title4 MM Title5 Sydney Metro Southwest Metro Design Services (SMDS)
    METRON T2M MM_Title4 MM_Title5 Sydney Metro Southwest Metro Design Services (SMDS) METRON T2M Punchbowl Station Design & Precinct Plan Sydney Metro Southwest Metro Design Services (SMDS) 09 March 2021 Document: SMCSWSWM-MTM-WPS-UD-REP-241000 A Joint Venture of Principal sub-consultant METRON is a joint venture of Arcadis and Mott MacDonald, with principal sub-consultant DesignInc METRON is a joint venture of Arcadis and Mott MacDonald, with principal sub-consultant Design Inc. Sydney Metro Southwest Metro Design Services (SMDS) Approval Record Amendment Record Function Position Name Date Date Document Number/s Revision Amendment Description By Prepared by Senior Urban Designer & Ben Coulston & Remy Miles 08 March 2021 21 May 2020 SMCSWSWM-MTM-WPS-UD-REP-241000 A 100% Draft Ben Coulston with input Urban Designer from UD and LA team Technical Checker Principal Urban Designer Lynne Hancock 08 March 2021 28 July 2020 SMCSWSWM-MTM-WPS-UD-REP-241000 B 100% Draft Ben Coulston with input from UD and LA team Reviewed by T2M Urban Design Lead Mary Anne McGirr 08 March 2021 09 March 2021 SMCSWSWM-MTM-WPS-UD-REP-241000 C 100% Final Ben Coulston with input Approved by Director Ian Armstrong 08 March 2021 from UD and LA team Punchbowl Station Design & Precinct Plan. Document: SMCSWSWM-MTM-WPS-UD-REP-241000 Sydney Metro Southwest Metro Design Services (SMDS) Contents 1.0 Introduction 1 4.0 Design 35 5.0 Transport and Access 63 1.1 Project description 1 4.1 Project design 35 5.1 Transport and access design measures 63 1.2 Purpose and scope 3 4.2 Station
    [Show full text]
  • 2022 Adelaide Festival Awards for Literature Guidelines
    ADELAIDE FESTIVAL AWARDS FOR LITERATURE 2022 GUIDELINES ADELAIDE FESTIVAL AWARDS FOR LITERATURE 2022 CONTENTS About the Awards 3 2022 National Awards for Published Works 4 2022 Awards for South Australian Writers 5 2022 Fellowships for South Australian Writers 6 How to Apply 7 Opening date March 2021 Closing date 5.00pm, Wednesday 30 June 2021 ADELAIDE FESTIVAL AWARDS FOR LITERATURE 2 ABOUT THE AWARDS The Adelaide Festival Awards for Literature (AFAL) are presented every two years during Adelaide Writers’ Week as part of the Adelaide Festival. Introduced in 1986 by the Government of South Australia, the awards celebrate South Australia’s writing culture by offering national and State-based literary prizes, as well as fellowships for South Australian writers. The awards are managed by the State Library of South Australia. The awards provide an opportunity to highlight the importance of our unique South Australian writers and contribute to and support community engagement with literature. Award winners will be invited to attend the award presentation. The State Library will arrange for interstate/intrastate return economy airfares to Adelaide, two nights accommodation, and transport to and from the airport for winning authors to attend the award presentation to be held during Writers’ Week in March 2022. Nominations for the 2022 Adelaide Festival Awards for Literature will close on Wednesday 30 June 2021. • Entries are acknowledged within one month of receipt. • Incomplete or late nominations will not be accepted. • Any breach of nomination conditions will render a nomination invalid. • Nominated publications will not be returned after the judging process. Publications will be added to the State Library Collection.
    [Show full text]